Jerome Robbins, for instance, never saw ''Le Train Bleu.'' But its legacy has seeped into the generic artistic consciousness, and without its precedent, there might not have been Mr. It was an experiment in introducing new ideas and new movement into the art form and as such it served its purpose. Experiments, for their part and by their very nature, also rarely last.''Le Train Bleu,'' then, was one of Diaghilev's disposable ballets. Chic, by definition, is a passing fad. But its deliberate simplicity and references to the fashions of the day are reproduced here with shrewd sophistication. The Oakland Ballet, which presented the revival in California in November, gave the eagerly awaited East Coast premiere on Saturday night at the Staller Center for the Arts, at the State University at Stony Brook, L.I.''Le Train Bleu,'' with its bathing beauties and beefcake showoffs, looks nothing if not chic.
He crosses his golf club with her tennis racquet. Would an audience 66 years from now understand a ballet whose characters are modeled on Donald and Ivana Trump?The golfer and tennis champ settle their lovers' quarrel, in any case, in a fencing duel. The men in Chanel's black tank-top suits and the women in maroon and brown with bathing caps (the production's costumes realized by Mario Alonzo and Dale Foster) put on sunglasses in unison when they look up at the sky, and the invisible plane drops leaflets on the beach.Will the audience recognize today that Susan Taylor's appealing, crisp, no-nonsense performance as a Tennis Champion alludes to the French champion Suzanne Lenglen, and that Don Schwennesen, just as outstanding as the reserved Golfer in knickers, was modeled upon Edward, Prince of Wales?These references, even if culled from a book, are no longer sharp or meaningful. An airplane of any sort was so novel that the passage of an invisible plane constitutes one of the main events in this ballet. These were to sports and society personalities of the time, especially to jet-set mores in an epoch when there were no jets. Ries, a Cocteau scholar who teaches at the University of California at Santa Barbara.The crucial problem they faced was inherent in the very kind of ballet they tackled: ''Le Train Bleu'' is filled with references audiences may no longer find interesting or funny.
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Slow motion is often used here as a dramatic device.Michael Lowe, bounding out in Dolin's first famous tumbling solo and then diving into a hidden trampoline of a sea, and Abra Rudisill, as his plotting counterpart in pink, are Beau Gosse and Perlouse. As Andre Shaikevitch, a French-Russian critic noted, Nijinska's inspiration may have come from medieval and Byzantine art, but she knew how to contemporize this stylization. The men and women, deliberately placed in chorus lines and pinup poses, are also positioned in the profile frieze patterns that are Nijinska's trademark. But the way to look at ''Le Train Bleu'' today is to appreciate it as a historical curiosity.In this sense, the attempt to reconstruct the spirit of Nijinska's choreography after the 1925 London performances incorporating Cocteau's modifications is interesting.
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